Jay-Z

The Blueprint 3

(Roc Nation)

US release date: 8 September 2009

UK release date: 14 September 2009

By Andrew Martin

cover art
 Amazon
 Lala

Allow him to reintroduce himself. His name is Hov.

His debut, Reasonable Doubt, was easily one of the 1990s’ best albums, hip-hop or otherwise, and it featured some of the best producers and rappers of our time. He beefed with fellow New York City rap heavyweight Nas for years before they buried the feud and appeared together on several tracks. He went from being an emcee to “a business, man.” He has rapped alongside nearly everyone on the planet, from Eminem to Lupe Fiasco to Notorious B.I.G. to UGK. He was one of the primary catalysts behind Kanye West’s emergence and ultimate success – and several other artists as well.

He has the “hottest chick (Beyonce) in the game, wearin’ [his] chain.” He “retired” with a spectacular record, The Black Album, only to follow it up exactly like “[Michael] Jordan wearin’ the 4-5” with the disappointingly dull Kingdom Come. The list of his achievements (and missteps) is seemingly endless. But most importantly, for more than a decade, he has captivated audiences for his street tales and for his braggadocio-laced club raps. His singles and albums during those years are telling of how the genre has evolved. He has remained relevant and stayed true to what made him who he is for longer than most rappers in the game since the mid-1990s.

And yet, with The Blueprint 3, his eleventh album (not counting compilations), it has become increasingly clear that Jay-Z continues to struggle with finding a balance. That is, of course, not an effort to put words in his mouth. If you have heard even his most sincere and heartfelt song, you know this emcee from Marcy Houses is confident in whatever he is doing. But it’s obvious to anyone following his career that he has been on a steady trend of stellar album followed by mediocre album since The Blueprint dropped in 2001. After that seminal record, we heard its dreadful follow-up (The Blueprint 2: The Gift & The Curse). Next, he graced us with the aforementioned hit-and-miss of The Black Album and Kingdom Come. Jigga then came back with a vengeance on the cocaine-dreamin’ epic American Gangster, which stood as one of 2007’s best.

With that kind of instability, should it come as any surprise that The Blueprint 3 follows in suit? If it was a month or so ago, the answer would be yes. At that point, the world had heard only the street singles and a few actual tracks from the record. The street tracks – “Jockin’ Jay-Z”, “Brooklyn Go Hard”, and “History” – were an odd bunch. The first was nothing short of a disappointment, if for no other reason then it sounded better when Jay performed it with a hoarse voice. Then there was “Brooklyn Go Hard”, a cut full of what makes Jay a critical darling and so much fun to listen to. He spit some of his best double-speak over a Santigold vocal sample from “Shove It”, which Kanye West threw over a gritty beat. “History” worked well as a sincere celebration of President Obama’s win in the 2008 election. It was a here-today, gone-tomorrow type of track, though still worthy of increasing hype for the new album.

(While it ended up on T.I.‘s Paper Trail and doesn’t particularly count as a Jay track per se, he also treated us to “Swagga Like Us”.  The posse cut featured verses from Hov, Lil’ Wayne, T.I., and West, who also crafted the grizzled beat with an M.I.A. vocal sample from “Paper Planes”. You probably remember them all performing this one in Rat Pack outfits at the Grammy’s. It might be gone and forgotten, but it’s still an entertaining track to break out at clubs and house parties.)

The hype and high expectations then both hit record levels once Jay-Z leaked “D.O.A. (Death of Auto-Tune)”. Chock full of wheezy horns, boom-bap drums, and a slick guitar-riff loop, it was at least sonically everything we had wanted – not that we were expecting any less from No I.D., one of the best to do it. Then Hov’s voice comes in, verse after verse of ripping apart every modern hip-hop trend. He lyrically dismantles his peers, auto-tune (obviously), and more. With this track, it all seemed to be falling into place that he was going to drop a proper sequel to The Blueprint. And the next single, “Run This Town”, only accelerated that hope. Rihanna’s caterwauling across the hook and other portions of the track nearly sank the ship built by Jay, West, and No I.D. But it wasn’t painful enough to extinguish the flames of another catchy beat, this time co-produced by West and No I.D., and a stellar guest verse from the College Dropout himself. Like many emcees before him, Yeezy appeared hungrier when co-starring and not running the show. His line of “what you think I rap for/to push a fuckin’ Rav4” was both hilarious and truthful, as was his entire verse.

Everything seemed to be going Jay’s way.

And then, more leaks started hitting the blogs. It’s not clear if it was intentional or some weird coincidence, but they were all Timbaland-produced tracks. And they were all increasingly boring. “Off That” sported a Timba-by-numbers beat and a useless guest appearance by Drake, who sings then raps the mindless hook. It was essentially like “D.O.A.” part two, as it tried to kill the use of Cristal, oversized clothes, big chains, and more. Following in suit was “Reminder”, though at least Jay brings it lyrically. But the chorus was fingernails-on-the-chalkboard annoying and the beat was another repetitive Timbaland soundscape. Would it all change for “Venus vs. Mars”? No. It didn’t. Instead, it got worse. Jigga’s verses featured one to three hot bars, and that’s being lenient. The hook was trash. And the beat, well, Timba appeared to be doing his best 808s & Heartbreaks impression. It wasn’t an awful production, just nothing worth noting or hearing more than twice.

Another track found its way on to the ‘net a few days later. And this time around, the leak was met with more love than the others. “Hate” was another chance for West to produce and spit on the same track as his Big Brother over what sounds a lot like an auto-tuned vocal sample. Hypocrisy aside, it was, in theory, exciting to hear ‘Ye and Jay go back and forth with bars. You know, in the way that so few rappers do these days. But it sounded very rough. And it was clearly indicative of a more experimental edge to The Blueprint 3. It also raised the idea that, perhaps, these leaks needed to be heard in the context of the album before final judgment is passed.

Santa Claus then decided to visit everyone a little early this year.

The entirety of The Blueprint 3 leaked sometime last week. Twitter users all over went insane. Message boards imploded. Jay even responded. Of course, he wasn’t surprised because, like any artist knows these days, it was bound to happen. For Jigga fans and haters the world over, it was time to hear if those leaks were foreshadowing the downfall of this record or not. And, in a way, they did and they did not. The tracks were a clear warning of what could happen when Jay and his team of producers misfired in an attempt to do something “new.” Instead, they regurgitated then slightly amended what we have all been hearing on the radio for the past few years. The way the leaks did not completely foreshadow The Blueprint 3‘s demise is that they cut the album up into two distinctive halves, one with good-to-stellar tracks and the other with above-average-to-awful tracks. In other words, they allowed us to clearly and plainly see that Jigga has the ability to push the envelope and make fantastic music. But on here, he has clearly reached an impasse of how to execute that perfectly.

The first seven tracks would leave you thinking otherwise, though. The album-opener, “What We Talkin’ About”, is a bombast introduction. It’s littered with gigantic, echoing synthesizers and a midtempo disco-beat. And it gives Jay a chance to essentially wear his heart on his sleeve and explain what the entire album will discuss: Grown-man business, rap, and not giving a fuck what others say. Keep that final topic in mind for later. The tracks then flow in and out of each other seamlessly. “Thank You”, though awkward and forced in terms of his flow, is solid. And it’s followed by the one-two punch of aforementioned singles “D.O.A.” and “Run This Town”, which is an ample prelude to an additional one-two punch and a knock-out. “Empire State of Mind” is yet another chance for Jay to show love for his city, but it remains interesting thanks to a fantastic Al Shux beat and celebratory hook from Alicia Keys. Above all, it’s a chance for the Marcy emcee to show off shades of a new flow while not losing you for a second. Upping the ante is a track many will argue would sound better on a Rick Ross record, mostly because producer The Inkredibles worked with Ross on Deeper Than Rap But to deny “Real As It Gets” as a solid Jay track would be foolish. With Young Jeezy bursting through the gates on the first verse, the track initially appears to be a means of blowing out your car speakers. “Real As It Gets” might not go beyond what its track title implies – the concept of being real vs. fake – but it keeps the subject matter fresh and ridiculously fun.

The party keeps on going for the Swizz Beats-crafted “On To the Next One”. You wouldn’t be wrong to expect a completely superficial and over-the-top track from Swizzy, whose beats are typically tinny and unpolished. But on this track, he delivers. And it plays a lot like “A Millie 2.0”, from the simplistic, albeit effective, drums to the repetitive vocal sample. Those similarities aside, Hova’s lyrics deal with just how futuristic and ahead-of-the-curve he has been, hence “On To the Next One”. In true Jay fashion, he also makes sure to big-up himself repeatedly. In other words, this track might not be anything new in terms of subject matter or production, but it’s done so well that it’s undeniably primed for repeated listens. “On To the Next One” isn’t merely a killer song, though. It also represents where The Blueprint 3 comes to a grinding halt.

Remember those Timbaland-produced leaks? This is their time to come into play and turn what sounded like close to greatness into mere mediocrity.

Side B stumbles off the starting line with “Off That”, a track not significant enough to write about again. But it’s at least almost recovered by the West and No I.D.-produced “A Star Is Born”, a slightly above-average chance for Jay to give props to his peers. He also gives Roc Nation’s first signed artist, J. Cole, a chance to shine on the fourth verse. It’s too little too late, though. And how the hell did that hook, which is either auto-tuned or intentionally close to it, make it on the album. Didn’t Jigga kill auto-tune? Guess not. Anyway, time for another filler-track, “Venus vs. Mars”, followed by (you guessed it!) a slight redemption. “Already Home” is nothing to write home about lyrically, but Kid Cudi’s work on the hook is surprisingly topnotch and Kanye appeared to have salvaged some of his former-self on the beat. The same can’t be said for “Hate”, though it’s a valiant attempt at experimentation, and “Reminder”, another boring Timbaland joint. But these two cuts aren’t only dull; they display a side of Jay that is extremely out of place on here. For one, who now actually detests him enough to justify writing “Hate”? West, I understand, but he brought that upon himself. Jay, on the other hand, has no reason to make a track like that. “Reminder” has the same problem. Every other song on this record has detailed exactly why he has become a household name and beyond. So why is this song necessary? It’s not.

Try as it might, “So Ambitious” can’t save an entire batch of letdowns. The Neptunes, particularly Pharrell’s chorus, really brought out something special to rekindle that fire they have with Jay. It’s a straight-up hip-hop joint that will warrant repeated listens for both the beat and lyrics, which are in line with Hova’s past storytelling epics. He speaks on his motivations with an added chip (or dirt?) on his shoulder and does it with that slightly-amended flow alluded to earlier. “So Ambitious” could have also been an absolutely ideal means of ending The Blueprint 3. Instead, Jay closes the doors with “Young Forever”, a track much better suited for 808s & Heartbreaks. Jigga’s earnestness is appreciated. But it sounds flimsy when paired with a disposable beat and a chorus lifted from Alphaville’s “Forever Young” sung by Mr. Hudson. Like “Hate”, “Young Forever” is another unconvincing attempt at trying something new.

That sentiment is actually what makes The Blueprint 3 so frustrating, particularly for many Jay-Z fans. We have all witnessed his progression over the years. No one would or should argue otherwise. This is an emcee who has always tried to stay one step ahead of the game. And as his track record indicates, he has both failed and succeeded in his trials. His most recent effort isn’t exactly a failure. Without its filler, this album could have been at least good, if not great. But, for better or for worse, this is what Jay wanted us to hear right now. It’s just a shame that it’s not entirely worth hearing.

— 8 September 2009
Run This Town feat. Kanye West & Rihanna
 
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Comments

Co-sign. This album is wack.

Comment by rayman from uk — September 8, 2009 @ 10:08 am

Wow, you guys must have some amazing stuff over there in the UK. Because here in America, this is one of the best albums Jay’s ever dropped.

Comment by Corey — September 8, 2009 @ 3:03 pm

5?!?! Are you serious? LEave it to a pop site I guess…

Comment by Jay from USA — September 8, 2009 @ 8:23 pm

Read a couple of reviews on this…just like any blog…if you hate on a nigga, it doesn’t matter if he spits the gospel..niggaz still gonna throw em stones and crusify his ish… The Blueprint 3 sounds exactly what Jay wanted it to be and that’s definition of real…not what he thought a britney fan would want to hear or a lupe fan…He serves up what he sez from the start of the album and this album though not the illest..it grows on you sort of like the first blueprint. BP2 was weak, people give it props but why bother like something coz others feel it… BP3 fckn awesome!

Comment by Stace from Nairobi, Kenya — September 9, 2009 @ 12:17 am

Sorry Corey, but that’s just a load of crap. I’ve read enough reviews for this album to know that a lot of people are disappointed with it. And I have some American friends who are too.
Coming from a Jay-Z fan: The album is horrible, Jay can do SO much better.

Comment by Victor from Netherlands — September 9, 2009 @ 2:09 am

Which America? Majority of reviews in the U.S says this lp is average or slightly above it

Comment by EFON — September 9, 2009 @ 3:39 am

It’s funny how if you dare say you don’t like a certain Jay-Z album you are hating on Jay-Z. He’s made great albums in Reasonable Doubt, Blueprint I and The Black Album, but this is easily one of his worst. Lyrics are spot on at times, but all too often tries to be too clever for his own good, so it sounds forced. But the production lets it down too often. It starts off OK for the first few tracks including DOA but then goes downhill. Timbaland has always made one good beat in every half dozen, and these ones are in the other five. Kanye is just continuing his 808 experiment. The whole things comes off as the dull synthesized pop that you hear all over the radio anyway, which is presumably what is was intended for. Only Built 4 Cuban Linx II easily owns this.

Comment by Kerr from London, United Kingdom — September 9, 2009 @ 9:42 am

Men lie, women lie…numbers don’t.

Comment by lstacewm from Nairobi, Kenya — September 9, 2009 @ 11:58 am

— PopMatters sponsor —

Better than most albums out now. You can easily sit through and listen to the whole thing. Venus v. Mars is a really hot song. The hook “Daddy goes hard” will become a mantra for many men and women to say to their men.
Already Home is another great song you missed in your review. This album is definitely an 8 out of 10.

Comment by Carrie — September 10, 2009 @ 12:02 pm

I’m so tired of Alicia, the adulterer, screeching on a track and it be called singing. Her hook is not good on Empire State of Mind. Ditto for the billygoat voice of Rihanna on Run This Town. Drake was wasted on Off That. The album is ok.

Comment by Nyah — September 10, 2009 @ 12:06 pm

I cant believe what I’m hearing from some of the posters on here. “Great Album”, “What Jay wanted us to hear?” This is just a bad album all together period. Its very lethargic and at times the songs are worth skipping every time you listen to the album. Lets not forget that 2 of the songs that are good on this album and that are hits have problems. “Run this town” Rhianna’s nasally voice with Jays lack luster verse’s leaves him subject to get owned on his own track by Kanye. “DOA” is the most overrated song that had been done about 17 times before Jay made it so innovative and for most who dont listen to hip hop literally think that he was the first to talk about auto-tune on wax. SAD!

1. “What We Talkin’ About” (8/10) Good Intro!
2. “Thank You” (7.5/10) Great Follow up!
3. “D.O.A. (Death of Auto-Tune)” (6/10) Could have bee great if it wasnt dont 20 times prior.
4. “Run This Town” (6/10) This would have been great if it was all done by Kanye!
5. “Empire State of Mind” (7/10) Good Anthem!
6. “Real As it Gets”  (4/10) This song is just wack but Jay saves it and gets it a 4!
7. “On to the Next One” (5/10) This song could have been good if Swiss could have came original with his beats cause I swear I have heard this same style shit on all the songs he produces.
8. “Off That”  (4/10) TIMBO!!!!..... WTF What happen here? This song misses on so many levels. Drake is his usual self=Garbage! Drake needs to go away he’s a dud!
9. “A Star is Born” (4/10) Very weak and I will continue to skip this song along with everybody else!
10. “Venus vs. Mars” (3.5/10) This song is horrible not as bad as young forever but its close. The beat and hook make me want to got o sleep.
11. “Already Home” (8/10) This song is good! But I think that Kid Cudi made it an 8 instead of a seven with his balance. I like that he isnt trying to be too vocal on the hook its rides the beat perfect.
12. “Hate”  (7/10) This is the song you either hate or love its decent but again this should be on a Kanye album.
13. “Reminder” (4/10) Skip this one too!
14. “So Ambitious” (5/10) Its like Pharrell and Jay both just said fuck it put this on there. not much there.
15. “Young Forever” (2/10) This and “Ya Heard” song off The Game’s LAX album are the 2 worst songs I have heard in the last 3 to 4 years!

Comment by Gangis from Los Angeles, CA — September 10, 2009 @ 10:57 pm

now come on… are yall actually hip hop fans? wack? garbage? really? the album is good. not great. but def not a fucking 5/10 please. but this is a pop site. there were some points where i felt like i did when listening to rd [whiich is his best album imho] where i played back what he said and thought to myself… this dude is sick wit it. then there where some songs i was just like wtf get outta here. mainly towards the end.

“what we talkin’ about” [8.5/10] cuz it explains what he thinking about in his career and he still says it in his usual jay z awesomeness.
“thank you” [8/10] is good. its amazing how he can be so sarcastic with his flow. what made me love em… ie. rb- At your wake as I peak in, look in your casket
feelin sarcastic, “Look at him, still sleepin”
“DOA” [9/10] great. sick. cuz hes not just talking auto tune, he just means the wack means rappers are using to make music. he even uses it in this album so i dont think he means auto tune in particular.
“run this town” [7/10] had so much potential. rihanna killed it. if it was just jay and ye it wouldve been great.
“empire state of mind” [7/10] good. not great. but good. chorus couldve been better but its okay.
“real as it gets” [5/10] jeezy hurt this track for real. like, his flow is just everywhere. always talking, but never talking about anything. jay keeps it from being lower but damn this track aint good.
“on to the next one” [6/10] first the production is poor. i really dont know why jay allowed this on his shit. the beat and swizz is so sloppy. but jay lyrics are on point. i just choice to block out that annoying “under the spot….” sample cuz it makes me wanna kill myself. but when the beat changes w/o that, its okay.
“off that” [5/10] this just aint a beat for jay. really. its lame. timbo shoulda kept that in the vault. but jay lyrics again saves it. but i like what jay was trying to do with this track. cuz we really off that shit… and drake. god. i wish ppl would pay attention. he not that good. it reminds me of wayne. he’s good but there is so many rappers better. just really pay attention to this kid and youll see he not the lyrically inclined.
“a star is born” [6/10] lyrics are on point. the chorus is complete garbage. the “clapping”=garbage. but other than its okay. the lyrics are good. jay=the best with word play. pay attention.
“venus vs. mars” [5.5/10] the chorus again=weak. the beat is ehhh. not sure what to say. but again, i just love the word play.
“already home” [7.5/10] cudi helps alot. jay is okay as is the beat but nothing special. a little above average.
“hate” [7.5/10] would be a 7 or 6.5 but i just love the way the share bars which is real cool. i think the reviewer had it right. but like it was said before, it should be on a ye album. but good though. and sorry but jay has a reason to make this song. fucking pop mags…
“reminder” [3/10] pointless track. i tried to let it play but i just couldnt. and the chorus makes me puke. neeexxttt trrracckkk.
“so ambitious” [6/10] i kinda feel it. sounds like something the neptunes would do for him. it reminds me of mjordan’s hall of fame speech. not great, but good enough i guess.
“Young forever” [2/10] i want to put a one but its not the complete bottom but is damn close. def worse song on the album. i knew it from the first 3 sec it was gonna be. couldnt hear it again. just lame. rickk ross really does need this track. sounds like something he would do. horrible. plain and simple.

all together, i know i can listen to majority of these songs [some more than others] which makes it a success. its not close to being garbage but its not great either. but for this year, its good and i know its gonna be alot of spins on my side. im a little disapointed but songs like DOA and thank you will keep me popping it in the disc player.

Comment by audie from dallas, tx — September 16, 2009 @ 5:36 pm

My thoughts exactly. A good well-articulared review.

Comment by dtc from London — September 17, 2009 @ 7:36 am

Timbaland’s production was kinda mediocre compared to previous collaboration with Jay. But if you say his production was bad, you obviously don’t know what actually goes into composing an instrumental. I’m not really trying 2 get at u guys in particular, its just that i’ve been reading this in every BP3 review. The “Off That” & “Venus Vs. Mars” instrumentals were better than half the instrumentals on the whole album (minus “What We Talkin’ About,” “Empire State of Mind,” “D.O.A.,” “Run This Town.” I am a producer as well, and i make “Original” beats, so my opinion is a bit swayed towards “None Sample” production. Basically what i’m trying to say is look at timbo’s record, then look at Kanye or his mentor’s record (No I.D.). Numbers don’t lie fame!

Comment by jahmal brown from New York — September 17, 2009 @ 9:20 pm

Not gonna lie, this album was NOT a classic. At all. The first 8 tracks could’ve been the entire album. After that I was like could be better…could be better…REMOVE IT…could be better…Eh…

1. What We Talkin’ About (8/10): Good Intro.
2. Thank You (7.5/10): Classic Jay sound. Black Album anyone?
3. D.O.A. (Death of Auto-Tune) (8/10): Lyrically the weakest track on the album to me. Sonically the best track on the album.
4. Run This Town (9/10): Better than DOA in my opinion. Rihanna killed the track and Kanye seems to step up again over Big Brother.
5. Empire State of Mind (8/10): Love this track. Love it better live.
6. Real As It Gets (7/10): Love the beat. Eh on Jeezy however. He could’ve just stayed on the hook and it’ll be a higher grade. Could be replaced with Already Home (with better Jay flow).
7. On to the Next One (8/10): After finding out he did NO WORK on the production of “Dr. Carter” (which is my favorite track on that album because of the concept), Swizz Beatz steps it the fuck up. My opinion…the beat was way too dope.
8. Off That (8/10): Not a Drake fan…and I’m glad he was just for the hook. Jay “tried something new” my ass.

And here’s where the album ended for me. He could include the next two but if it was just 8 tracks (which will never happen for an album) then I’d be happy.

9. A Star Is Born (7.5/10): I like this track a lot but J.Cole outshined Jay-Z. Personally I was waiting to see what he sounded like because Jay bored me. The production was solid as well. This is one of my picks to end the album.
10. Venus vs. Mars (6/10): Jay could’ve done better on the lyrics, but the flow was dope. I actually like the hook a lot so screw you PopMatters.
11. Already Home (6/10): I’m ok with Cudi, but this was a “oh yeah, I forgot this song was on this album” type of track.
12. Hate (4/10): This only gets a 4 because Affion Crocket made a hilarious version to this.
13. Reminder (0/10): DIE ALREADY.
14. So Ambitious (7/10): Awwww, The Neptunes tried to save the album! Nice try, but waaaaay to late. This could’ve ended the album outside of A Star Is Born.
15. Young Forever (2/10): Not what I was expecting on this one. Is this ANOTHER throwaway ‘Ye beat? God…and this kinda makes me look down on Mr. Hudson now.

I’m a producer as well, but Off That and Venus vs. Mars were not the best beats on the album IMO. Off That is 4th best, but NOT the best.

American Gangster was a better album. A classic, IMO. There I said it.

Comment by Bell Boi from St. Louis, MO — September 21, 2009 @ 6:11 pm

I disagree with you about Jay trying something new on Young Forever.  Most of his albums close with a dreamy track like that.  My First Song, Beach Chair, and not and ending song, but “Blueprint II,” also has an eccentric beat.  Everyone has their different opinions, and I think Venus vs. Mars is dope.. Nice story you wrote though, if only you knew his style better.  Listen to the Blueprint II again and listen to his analogies; you will undoubtedly find similarities to tracks like Empire State of Mind and Reminder.  Peace

Comment by john from Sactown — September 22, 2009 @ 8:03 pm

— PopMatters sponsor —

This Album is completely wack!
it lacks a sense of direction.
overall, i give it a 3/10—- ranks amongst Jay’z worst!

Comment by yizzi from Cape Town , South Africa — October 1, 2009 @ 12:19 pm

Before I write anything, let me just say that I am a big fan of this man’s body of work.  BP3 was not worth my $10 purchase off itunes.  While there are some incredible tracks and infectious beats, the overall album is a let down.  Reasonable Doubt was the first Jay cd i ever heard, and this is a far cry from that.  Now, don’t say “Jay’s past that” “If you want the old Jay, buy his old album!”  Thats not my point.  Jay is/could be the best emcee of all time, but instead of showing his brilliance on the mic, he wastes time saying “I’m the best” a thousand different ways.  New beats, ‘futuristic’ sounds, and just new production is fine, but get back to proving you’re the greatest emcee and showcasing just how amazingly talented you are, not repeating yourself.  It makes you(Jay) sound stupid, and we all now that JAy is far from stupid.

Comment by verbatim — October 2, 2009 @ 9:29 am

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